Contents
Page
Performance Pack
Age 9–11
Drama
Taking part in Archie Dobson’s
War: Adam Thomas Wright, Emily
Dolbear, Jade Andrews, John
Norton, Tracy Wiles, Stephanie
Racine, Harry Jardine, Scott Joseph,
Carys Eleri and Sean Murray.
Introduction
The Drama programmes
5
Drama 1
Archie Dobson's War – Part 16
Drama 2
Archie Dobson's War – Part 210
Drama 3
Archie Dobson's War – Part 314
Written by Rob John.
The Music and the Dance programmes
Produced by Marie Crook and
Stuart Fyfe.
Music 1
Listen to the Iields 21
Music 2
Stuck, stuck in the middle22
Music 3
Can you, can you remember?23
Dance 1
Countdown to war26
Dance 2
Over by Christmas 29
Dance 3
Over the top!
31
Lyrics and music
33
Drama activities in these Notes
based on frameworks by Becky
Prestwich Hine.
Music
New songs written and composed
by Barry Gibson, plus medleys of
the time featuring songs by Jack
Judge, Harry Williams & Felix
Powell, Robert Patrick Weston,
Charles Crozat Converse, Nahum
Tate, Franz Gruber, George Michael
Cohan, Henry Rowley Bishop and
Anon/Traditional.
2
Teachers’ Notes 19
Programmes presented by Sophie
Aldred and Nigel Pilkington.
Graphic scores
44
Written and produced by
Barry Gibson.
How to acquire the programmes
47
Introduction
The ten programmes in this ‘Performance Pack’ explore World War
1 through music, dance and drama, providing an ideal means to
extend your study of the topic into Expressive Arts activities.
There are units of three programmes supporting each discipline,
which may be used separately or together. Taken as a whole they
may be combined to rehearse and perform our specially-written
musical play for pupils aged 9 to 12 called Archie Dobson’s War.
The full range of resources available includes the playscript of Archie
Dobson’s War, these Teacher’s Notes, backing tracks of all the songs,
incidental music to enhance your staging and a range of multimedia resources. The Pack enables teachers to link ongoing work in
dance and music to the theme of World War 1 and also to stage a
performance that will be both entertaining and thought-provoking.
Staging Archie Dobson’s War
The performance script for Archie Dobson's War follows the same basic
narrative as the Drama programmes. It is divided into three acts that
follow the pattern of the programmes: i) outbreak of war; ii) war on the
home front and the battlefield; iii) the end of fighting and remembrance.
Archie Dobson's War incorporates the songs from the Music
programmes and the movement sequences from the Dance and Drama
programmes to offer a lively performance that will be both entertaining
and thought-provoking.
The script has been written to offer a performance that:
are not fundamental to the performance
• takes advantage of music and sound effects provided by
the BBC
• has flexibility regarding overall length and can be adapted for a
short performance (eg an assembly) or a longer performance
(eg for a performance for parents)
It is also a key feature of the playscript that it can be adapted to
suit your own geographical location. We have called the families
in the drama the Dobsons and the Carters, who live in fictional
places called Glaveston and Little Burside. We fully expect
you to adapt these names if you wish to better reflect your
particular location.
Your staging of Archie Dobson’s War will be significantly enhanced
by using the audio resources in the final download of the series.
This programme includes the backing tracks of the songs and
sequences of incidental music and sound effects to play during the
key scenes of the play.
Please note: you may print out and distribute as many copies
of the playscript Archie Dobson’s War as you wish for use with
your pupils. You may also stage a performance of the play within
school without additional permission from the BBC. However,
the playscript remains the copyright of the BBC. It may not be
reproduced, significantly adapted or made commercially available
without the permission of the BBC. If you have any queries
regarding your performance please use the ‘Contact us’ page of the
School Radio website:
• is suitable for pupils aged approximately 9 to 12
www.bbc.co.uk/learning/schoolradio/contactusform
• allows parts for an ensemble of 30 or more children
The sound resources that form the final programme of the series
can be streamed from the website or can be downloaded as
individual mp3 files from the relevant web page. If these methods
of playback are unavailable at your school, or are impractical for
supporting your performance, please contact us at the address
opposite and we will endeavour to provide the audio files in a
manner which best meets your needs.
• includes roles for several narrators whose parts can be read
from the script
• includes plenty of music and movement and does not rely on
any one pupil having to learn a large part
• does not rely on sourcing costumes or include complex stage
craft or lighting
• includes suggestions that may enhance your staging but which
Dance
Programmes presented by
Richard Lloyd King with music
by Barry Gibson. Written and
produced by Deborah Bellman.
The playscript Archie Dobson’s
War written by Rob John.
Other BBC contact:
Andrew Barnes
Feedback
We are always pleased to hear how
you use our programmes and, in
particular, how your own school
performance has gone. Please send
any letters, stories or pictures to:
BBC School Radio
4th Floor Bridge House
MediaCityUK
Salford
M50 2BH
Or e-mail us at:
[email protected]
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D R AM A
The Drama programmes
The three programmes comprise a specially-written drama that also provides the basis for the
musical play Archie Dobson's War. It is intended to provide the non-specialist teacher with
the inspiration for a range of drama activities (outlined below).
fear: Walter has been killed. At the end of the War both Archie’s and Mabel’s views have
changed. As they wait for their father to return they consider how best to mark the end to
the fighting. For a detailed synopsis see each of the episode pages below.
The narrative follows Archie Dobson – who is 10 years old in 1914 – and his sister Mabel –
who is a little older – through the years 1914 to 1918. They live in a fictitious town that
we have called Glaveston and their cousins – the Carters – live in a near-by village called
Little Burside.
Aims of the programmes
The main characters you will hear in the story are from two families:
•o develop imaginative and creative responses to the topic of World War 1
• to provide opportunities for careful, focused listening using a range of voices and a
variety of styles
• to enable children to see issues and dilemmas from a number of points of view
THE DOBSONS:
Archie – aged 10 in 1914
Mabel – aged 12 in 1914
Edward – their father – foreman in a
jam factory
Agnes – their mother
THE CARTERS:
Walter – aged 18 in 1914 – a farm labourer
Lizzie – aged 14 in 1914
Joseph – their father – a farm labourer
Kathleen – their mother – and sister of
Agnes Dobson
Part 1
Archie Dobson idolizes his older cousin, Walter Carter. On a visit to the Carters Archie
hears from Walter about his longing for adventure. When War is declared Walter enlists in
the army and Archie watches proudly as his cousin leaves for France…while Mabel has a
very different attitude to the impending conflict.
Part 2
The second episode contrasts life in the trenches with life on the home front. Archie hears
from Walter about the ‘Christmas truce’ and the war suddenly comes to Glaveston when a
Zeppelin makes a surprise attack on the town. By the end it is 1916 and Edward Dobson is
conscripted into the army.
Part 3
Edward Dobson leaves for the war. Later the family hear from their father on the eve of a
big ‘push’. The Carters also receive news from the Front – but it is the news that all families
4
• to build pupils' confidence in drama, gradually introducing more complex tasks
• to engage pupils in drama activities involving:
– discussion and sharing of ideas and co-operation
– planning and enacting responses
– presenting ideas to other members of the class
• to provide opportunities for ‘teacher in role’ to extend pupils' vocabulary, speaking skills
and imagination
• to offer a flexible cross-curricular resource, meeting drama and other subject goals,
including Literacy
Drama and the new National Curriculum to be
taught from September 2014
The value of classroom drama is acknowledged in the introduction to the Programmes of
Study for English, where it states:
All pupils should be enabled to participate in and gain knowledge, skills and
understanding associated with the artistic practice of drama. Pupils should be able to
adopt, create and sustain a range of roles, responding appropriately to others in role.
They should have opportunities to improvise, devise and script drama for one another
and a range of audiences, as well as to rehearse, refine, share and respond thoughtfully
to drama and theatre performances.
Drama: Archie Dobson’s War – The Drama programmes
D RAM A
Before using the content
The role of the teacher
Programmes and equipment
These programmes have been designed with the non-specialist teacher in mind. The
activities have been designed to offer a range of drama activities using familiar techniques,
which gradually develop in complexity.
• Listen to the drama scenes (or read the online transcripts) and read through these notes
in advance – assess suitability and note areas for development or extra support.
Space and time
• You will need a fairly large, cleared space.
• Allow at least 40 minutes to complete the work for each of the programmes. Larger groups
may need longer to allow time for everyone to feed back and participate. The amount
of time allowed for groups to show each other their work is a key factor in determining
how long the material will take to complete.
Preparation
However, the work of your group will be significantly enhanced if you join in alongside
pupils. Make sure you are familiar with the practical guidance for each activity in these
Notes and be ready during the activities to move among groups, questioning individuals
about their work to establish detail. Also use this opportunity to assess which work you may
choose to show to the group as a whole.
Assessing your group’s use of the content
Speaking and listening skills
• Pupils should dress to allow easy movement. They do not need PE kit.
•ow well do pupils listen to the ideas of others and contribute their own?
• No warm-up is necessary, so settle the pupils in the correct groupings quietly to listen at
the start – the notes for each programme give details of the activities.
•o some pupils find it hard to talk about a situation or solution if asked?
While using the content
Refer to these Notes while using the programmes. They provide:
• brief synopsis of the story
• ae they using new vocabulary introduced during the drama scenes?
Drama skills
Are pupils:
•e programme structure – the activities that will take place during the programme
•sing their imaginations as they become part of the situation and act out aspects of
the story?
•eacher guidance – ideas for teacher involvement intended to get the most out of
the programmes
•howing empathy with the characters and their situation?
• eogrammes is made up of approximately 7 scenes, ranging from 2 to 5
minutes in length, with each scene separated by 4 seconds of silence
•ble to translate the ideas that arise from discussion into drama?
•se this brief silence to pause the programme and undertake the activities suggested in
these Notes
•e careful to ‘pause’ the content, rather than pressing ‘stop’, which may result in the
content returning to the start (dependent on the nature of the device you are using)
•nce you have undertaken the activity settle pupils in the correct groupings and
resume listening
Drama: Archie Dobson’s War – The Drama programmes
•oining in with acting activities? All or some?
•sing the information they have gained from the programmes to appropriately inform
their work – e.g. with regard to language or historical context?
Social skills
•ow well do pupils work together in twos, larger groups, with the whole class?
• ae they able to see things from another point of view?
5
D R AM A
1
Archie Dobson’s War – Part 1
Synopsis
It is the summer of 1914 and the Dobsons are getting ready to visit their country cousins, the Carters. Ten-year-old Archie Dobson is particularly excited to be seeing his older cousin Walter.
His difficult older sister Mabel is less enthusiastic, believing herself to be superior to her rural cousin Lizzie.
During their visit Walter tells Archie of a great adventure he believes to be coming in the near future…and when war is declared later that summer Walter enlists in the army and leaves for France
during a grand parade. Archie watches Walter as he leaves and thinks it is the most exciting thing he’s ever seen. But what impact will the war have on their lives?
Framework of drama activities
(NB each scene in the drama is separated by a few seconds of silence during which you can pause playback to undertake activities)
Scene
Drama activities
Guidance
Scene 1:
Archie and the Dobson
family discuss their
forthcoming trip to
the Carter family over
breakfast.
Activity 1: whole group discussion and movement in pairs
The differences between 1914 and thepresent day.
Lead a group discussion about the differences between life today and life in 1914
(for example, there was no TV in 1914). Some of the topics you might consider
are: technology, transport, media, the home, communication, jobs. You can find
more examples here: www.bbc.co.uk/schools/0/ww1/25827997
After the discussion invite the group to get into pairs and improvise short
movement sequences showing a difference between ‘then’ and ‘now’.
In spite of these differences what do pupils feel they have in common with Archie
and Mabel?
Keep the preparation time short and move between pairs, perhaps choosing one
or two to show to everyone else.
Activity 2: groups of 4 – family portraits
Working in groups pupils make a still picture showing a portrait of the Dobson
family. As you tap each pupil they step out of the picture to introduce themselves,
by saying who they are and one thing they have learnt about themselves from
what they’ve heard.
6
The essence of the activity is underling the key characters in the story and aspects
of their personalities. Keep the introductions short and succinct; e.g. ‘I am
Edward Dobson and I’m the foreman at Claxton’s jam factory.’
Drama: Archie Dobson’s War – Part 1
D RAM A
Scene
Drama activities
Guidance
Scene 2:
The Carters’ cottage.
Kathleen is trying to
persuade her son Walter
to be at home for the
visit of the Dobsons.
Activity: pairs – discussion
Pairs discuss the differences between the Dobsons and the Carters, based on what
they have heard in the scene. They then report back and are ready to say whether
they would prefer living in the town or country based on what they have heard.
The Dobsons live in the town, while the Carters live in the country. The Dobsons
are better-off than the Carters and members of both families make disparaging
remarks about the other. Who makes these remarks and why? What words can
pupils use to describe the characters and their attitudes to one another?
Scene 3:
The Dobsons visit the
Carters at their cottage
in Little Burside.
Activity 1: movement in pairs – sculptor and clay
One pupil in the pair is the sculptor, the other is the clay. The sculptor’s job is to
mould the clay into a statue. This statue will show Walter working on the farm –
perhaps using a pitch fork, or digging, or feeding animals.
What differences between town-life and country-life are pupils aware of in today’s
world. What differences do they think there would have been in 1914?
This activity encourages team work and trust. The clay must respond to the
sculptor’s direction and the sculptor can carefully choose to move one part of the
clay at a time. Encourage the sculptor to think about Walter’s facial expressions.
The final position of the statue should emphasise the differences between ‘then’
and ‘now’. Farm work involved hard manual labour; tractors and other laboursaving machines were only just being introduced in 1914.
Activity 2: discussion in pairs
Pupils discuss what they think of the aspirations for the future expressed by
Lizzie and Mabel. Lizzie hopes for a job at Burside Hall, working ‘in service’ as
a housemaid.
Scene 4:
Newspaper headlines –
the outbreak of War.
Activity 1: pairs – scripted dialogue
Give each pair one of the headlines from the scene, written on a sheet of paper.
Also write on the paper a different emotion for each – eg scared, angry, excited.
Together pairs read out their headline. Can the others watching say what the
emotion is from the way the headline is expressed?
Activity 2: movement in groups
Split the class into about 5 or 6 equally-sized groups. Each group forms a line,
marching on the spot. One member of the group stands in front with the
newspaper headlines you have written down – they are the newspaper seller.
One pupil leaves the end of the line, takes a newspaper headline from the seller
and rejoins the line at the other end, falling into step. They then call out their
headline. Then the second person in the line repeats the process until everyone in
the group has called out their headline.
Drama: Archie Dobson’s War – Part 1
Set a time limit on the discussion and then call everyone together to share
ideas. What do pupils think of the girls’ hopes for the future? What would
they themselves like to do when they grow up? Are there any jobs similar to a
‘housemaid’ now? How would they feel about doing this kind of work? Do they
agree more with Lizzie or more with Mabel?
This activity explores how dialogue can be delivered in different ways and how
tone is fundamental to communication.
This activity prepares for one of the movement sequences in the play Archie
Dobson’s War. Its essence is to build tension in the countdown to War. The
activity requires plenty of co-ordination and co-operation between group
members, so move around groups assessing their work.
If you have time allow some groups to show their sequences and allow those
watching to say what they like about each.
7
D R AM A
Scene
Drama activities
Guidance
Scene 5:
The Dobsons encounter
a recruitment officer
on their way back from
church.
Activity 1: group discussion, leading to speaking thoughts
Discuss what might have motivated young men to enlist at the outbreak of War.
Once you’ve gathered a range of responses, recreate the crowd scene and explore
the thoughts of those present. You could do this by:
Pupils will have heard in Scene 4 that the outbreak of War was welcomed by
many people and was accompanied by a surge in patriotic fervour. What do pupils
think might have motivated those who volunteered? Possible reasons include
patriotism, a desire for adventure, a desire to ‘get away’, peer pressure, a desire to
do ‘what’s right’.
• creating a still picture showing the recruitment officer, some people queuing to
enlist and other by-standers. Then move around the group tapping pupils on
the shoulder in turn. They speak the thoughts of their character when invited
to do so.
• assign someone to be the recruiting officer (this could be the teacher in role).
The officer points out members of the crowd in turn, telling them they should
enlist. How do the members of the crowd respond?
Ask everyone to think about how their character is feeling. For those enlisting,
what has motivated them? For those holding back in the crowd, why are they
reluctant to come forward? Touch pupils on the shoulder to invite them to speak
their thoughts. Repeat out loud (as necessary) the responses so that everyone can
hear them clearly, but pass by any who are reluctant to speak.
This is a clear opportunity for the teacher to take on the role of the recruitment
officer. The advantage of this approach is that the officer is able to appeal directly
to members of the crowd and can seek to persuade those who are reluctant to
volunteer. Or attempt to engage the crowd as part of the persuasion.
At the end you could round up with a quick discussion of how pupils felt to be
appealed to in this way. Do they relate it to other situations they are familiar with
– ones where they’ve been persuaded to do something, perhaps by peer pressure?
Scene 6:
Kathleen Carter
attempts to persuade
Walter not to enlist.
Pairs: role reversal
Taking inspiration from the conversation between Kathleen and Walter, one pupil
takes the role of a young person eager to enlist and the other adopts the role of
a parent who wishes to dissuade them. Ask pupils to improvise their discussion.
Then swap over so that both get an opportunity to try both roles.
The activity allows pupils to experience both sides of a discussion. You could begin
by asking pupils to consider a time when they wanted to do something that their
parent or guardian did not want them to do.
Consider what we’ve already heard from Walter about why he might want to
volunteer – he’s looking for a big adventure. And consider why Kathleen might
want him to stay at home.
Move among pairs listening to their improvised conversations and if you have
time select one or two to show everyone else at the end of the activity.
8
Drama: Archie Dobson’s War – Part 1
D RAM A
Scene
Drama activities
Guidance
Scene 7:
Walter visits Archie
in Glaveston prior to the
march off to war.
Whole group: living picture
Pupils work together to create a living picture of the scene in which the crowd
watches the soldiers leave for war. Each pupil will either be a soldier, or someone
in the crowd who has come to wave them off. Once everyone has got into
position give a signal for everyone to bring the picture to life, adding sounds
and movement and using the specially composed soundtrack available with
these resources
Organise the group so that approximately 1/3 are soldiers and 2/3 are the crowd.
Consider how you will organise the crowd – will they be in two groups with a
space through the middle for the soldiers to pass along? Ask each member of the
crowd to think about who they have come to see off – a father, a son, a husband?
Drama: Archie Dobson’s War – Part 1
Soldiers will need to be organised in ranks – say marching two abreast.
You may wish to use the specially created soundtrack available from the website.
The soundtrack has a popular marching song – ‘It’s a long way to Tipperary’ and
the sound of the crowd cheering. Play the soundtrack when you give the signal for
the picture to come to life, with the crowd cheering and waving and the soldiers
either marching on the spot or moving in step through the space between
the crowd.
9
D R AM A
2
Archie Dobson’s War – Part 2
Synopsis
As the war progresses, we learn that it is far from the grand adventure Walter hoped it would be. Yet the Christmas truce he describes in a letter gives brief respite from the realities of war.
On the home front Archie’s father, Edward, begins to worry what will become of the family if he loses his workforce to the war. The women in the family knit socks for soldiers and the children become
aware that adults are shielding them from the full horror of war. Then, when a nearby Zeppelin attack shakes the windows of the Dobsons’ house, everyone realises that the War is closer to home than
they had thought. In January 1916, the family is left reeling when they learn that Edward has been conscripted.
Framework of drama activities
(NB each scene in the drama is separated by a few seconds of silence during which you can pause playback to undertake activities)
Scene
Drama activities
Guidance
Scene 1:
The Dobsons hear
conflicting accounts
of the fighting over
breakfast.
Whole group: still pictures with sound track
Pupils imagine being a soldier crossing No-Man’s-Land. They strike a dynamic
still image of an armed soldier and then hold their poses while they listen to the
soundtrack of shelling and gunfire, which lasts approximately 45”. At the end they
speak their thoughts to say how they are feeling.
Begin by making sure everyone is familiar with the term No-Man’s-Land and
knows what it is. Make sure you have the soundtrack ready – it is available in the
resources programme and also to download from the website.
Discuss the context – crossing a very dangerous stretch of ground, laden down
with a heavy weapon and kit bag, under fire from the enemy.
When you’re ready create the still pictures on the command ‘Freeze!’ and
encourage everyone to listen carefully to the soundtrack. At the end move through
the group inviting individuals to speak their thoughts by touching them on the
shoulder. Be ready to repeat any words so that all can hear clearly.
Scene 2:
While at school Archie
hears that a former pupil
has been killed in the
War.
10
Whole group: improvisation in role
Assign someone to be Archie’s teacher (this is an opportunity for teacher in role).
The others stand in rows facing the teacher, as if they are pupils in a classroom.
The pupils ask the teachers questions about the war…and the teacher must evade
giving a direct answer to the questions by whatever means they can!
The aim of the activity is to explore the reaction that Archie’s teacher has to his
question about the War (he tells Archie it’s not for him to ask questions).
Round off with a quick discussion. How do the children feel about being treated
by their teacher in this way? Is it right? And why do they feel the teacher is
behaving like this? Is it patriotism…or the teacher’s own lack of understanding of
the causes of the War…or perhaps both?
Drama: Archie Dobson’s War – Part 2
D RAM A
Scene
Drama activities
Guidance
Scene 3:
Archie hears about the
Christmas Truce from
a letter sent by Walter
from the front line.
Activity 1: improvisation in role in pairs
Each pair becomes a British/Commonwealth soldier meeting a German soldier in
No-man’s-land during the Christmas truce. They improvise a short conversation,
using information they have gleaned from Scene 3 of the drama.
Emphasise that both sides are made up of young men whose similarities far
outweigh their differences.
Activity 2: whole group movement leading to speaking in role
Each pair splits and moves to opposite sides of the space (so that opposing sides
are at either ends). One pupil – who has been predetermined – must make the
first move from their ‘trench’ and into No-man’s-land.
Slowly both sides then converge in the centre of the space, where pairs find each
other again and repeat their improvised conversations from Activity 1.
Move among pairs listening to their conversations and offering help as necessary
with the sorts of things the soldiers might have talked about and the sorts
of things they might have shared or exchanged. Listen to assess who is using
information from the scene in the drama (greeting each other as either ‘Tommy’
or ‘Fritz’, exchanging food, drink and a button). Accents are not important!
The essence of the activity is using gesture and body movements only to convey
the message ‘we mean no harm’. After the predetermined pupil has made the first
move the other members of the group will need to think carefully about: how
does the other side respond to the initial movement; how does each side react to
each other as they gradually move across the space; is it a straightforward meeting,
or are there moments of danger or potential conflict?
You could practise the meeting with either yourself or one of the pupils co-ordinating
the movements, before playing the movements and conversations in full.
Scene 4:
Agnes Dobson
encourages her daughter,
Mabel, to join her
knitting circle. Later
a Zeppelin bound for
London dumps its
bombs on Glaveston,
narrowly missing the
Dobsons' house.
Activity 1: whole group movement and talking in role
Everyone sits in a circle. Each pupil mimes in turn opening a parcel sent from
home and taking something out – perhaps a knitted hat or scarf…perhaps
something else.
Activity 2: whole group soundscape
Sitting in a circle discuss the sounds of the Zeppelin – explosions, running
footsteps, shouts and confusion. Go around the circle asking each pupil to create
a sound from the attack. They could clap or stamp, make a rhythm on their body
or use their voice to create a sound effect. Go around the circle until everyone is
making a sound contributing to the overall soundscape. Ask for volunteers to go
into the middle of the circle to listen (as if hiding under the stairs).
Activity 3: still pictures in groups
Make still pictures in groups of the moment Edward Dobson, Archie and Mabel
rush out into the street to see the Zeppelin above.
Drama: Archie Dobson’s War – Part 2
Encourage everyone to think about how precious parcels sent from home would
have been – something akin to a Christmas present. What would pupils most
want to receive from home? Move swiftly around the circle, ensuring that pupils
don’t simply start to copy each other.
You might want to turn off lights or take other steps to add to the atmosphere.
Encourage pupils to think about how they can use their sounds to build rhythm
and atmosphere. But be careful to ensure no-one is over-exercising their voice.
Encourage those who go in to the middle of the circle to talk about how they felt
– are they scared by the sounds? How do they make them feel?
Focus on making the pictures as dramatic as possible, giving attention to facial
expressions and use of the upper body (pointing, etc).
The audio resources available include the soundtrack of the Zeppelin attack. You
could choose to use it here, with pupils listening while holding their still pictures.
11
D R AM A
Scene
Drama activities
Guidance
Scene 5:
Archie and Mabel visit
Walter who is home on
leave. Walter tells them
about the death of his
friend Billy Mason. He
is going to tell Billy’s
mother of her son’s
death.
Activity: whole group discussion
The group considers what Walter says about how he will break the news to Mrs
Mason (he’ll tell her ‘it was instant’) and how Mabel and Archie react to this.
The essence of the activity is whether it is ever right to tell lies – and whether
‘white lies’ are correct in the circumstances. Mabel tells Walter that he will be
lying to Mrs Mason about the death of her son and at the end of the scene Archie
is upset not because of ‘the button’ but because Walter will be ‘sitting down in
poor old Mrs Mason’s kitchen telling lies’. Discuss what the three characters say
and what this may tell us about their characters. And consider what it is that
makes Archie so upset: simply the fact that Walter is lying…or a growing sense
that in some circumstances lies – ‘white lies’ – might be the best approach.
Scene 6:
1916 – conscription is
introduced and Edward
Dobson explains what it
means. While on their
way to church Edward is
presented with a white
feather.
Activity: whole group talk corridor
One pupil is selected to represent Edward. The others form two equal lines with
a space down the middle for Edward to walk along. As Edward passes each pupil
in turn hands Edward an imaginary white feather and says some words to him. At
the end Edward can tell the group how receiving the letters has made him feel.
Make sure everyone is aware what the white feather is and why it was given.
Review what Edward says about the lady who gives him the feather – that she
may have very personal reasons for why she has given it to him (eg the loss of a
husband or son). Make sure everyone in the group has considered these possible
motivations, so that they won’t simply tell Edward ‘you’re a coward’ or ‘you should
feel ashamed’ but can back these assertions up with more detail.
Scene 7:
Lizzie visits the Dobsons
and reveals she is
leaving her new job at
Burside Hall to work
in a munitions factory
making shells.
Activity 1: whole group movement in role
Pupils become domestic servants in Burside Hall, responding to the instructions
of the lady of the house / housekeeper. One pupil (or the teacher) takes on this
high status role, while everyone responds to their instructions. These instructions
can be used to reinforce the historical context – sweep the floors, polish the silver,
make the fire, draw the curtains, etc.
At the end you may wish to have a quick discussion about giving the white feather
– and in particular Archie’s view that it is ‘unfair’.
Activity 2: whole group discussion
Pupils discuss the role of women in the workplace during the War – and Lizzie’s
decision to join the munitions factory in particular.
Lizzie tells the others how hard life as a housemaid is at Burside Hall. This activity
serves to underline that fact and gives context to Lizzie’s decision to join the
munitions factory.
Nominate a child for the high status role of lady / housekeeper – or take on this
role yourself. You could emphasise the difficulty of the work by gradually making
your instructions more rapid…and more unreasonable.
What have pupils already learnt elsewhere about the role of women in the
workplace during the War? Some of the jobs they undertook are mentioned in the
scene and you can find out more here.
What work was considered typical ‘women’s work’ and what was not? How do
they relate the situation during the War to how things are now?
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Drama: Archie Dobson’s War – Part 2
D RAM A
Scene
Drama activities
Guidance
Scene 8:
Edward Dobson receives
his call-up – he is
conscripted into the
army. He tries to tell the
family not to worry.
Activity 1: discussion in role in pairs
Working in pairs pupils take on the role of parents who – like Edward and Agnes
– have just received the conscription letter. The conversation shows how they react
and how the consider the news should be given to the children.
Edward keeps a stiff upper-lip about his conscription but encourage pupils to
consider how he is really feeling. Is he frightened? Angry? Is his main concern for
himself…or for the family? How will he wish to appear in front of the children –
brave? And how will Agnes feel? How will she take the news? Will she be proud?
Afraid? Both?
Activity 2: whole group hot-seating
One pupil takes on the role of Archie and sits in the middle of the circle. The
others quiz him about how he is feeling, including his statement ‘I’m not a
child anymore’. Other pupils can volunteer to take over the role of Archie at
appropriate moments.
Drama: Archie Dobson’s War – Part 2
At the end of the episode Archie appears confused by mixed messages – his father
is still telling him that the War will be over soon but his sister Mabel thinks
otherwise. Earlier Archie has also witnessed that the War leads people to say and
do things that you wouldn’t expect. So use carefully questioning to try to analyse
how Archie is feeling and his gradually changing attitude to the situation he and
his family find themselves in.
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D R AM A
3
Archie Dobson’s War – Part 3
Synopsis
Edward’s quiet departure for war contrasts greatly with Walter’s grand parade. Archie is now to be 'the man of the house' and when Edward shakes his hand upon leaving - rather than giving him a hug Archie feels sad and scared.
Everyone is keen to contribute to the war effort. Agnes volunteers in a military hospital and Archie joins her, although seeing the wounded soldiers there troubles him. The whole family struggles to cope
when they receive news of Walter’s death. Mabel runs away to join the Women’s Land Army, but is quickly returned to her worried family. She explains that she wanted to do something to help.
In November of 1918 the Armistice is declared, the fighting ends and the Dobsons learn that Edward has survived the War. In spite of the festivities around them, the Dobsons celebrate quietly with
the Carters, whilst also mourning Walter. Archie is thrilled when Edward returns home. The hug his father gives him lets him know that the War is really over.
Framework of drama activities
(NB each scene in the drama is separated by a few seconds of silence during which you can pause playback to undertake activities)
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Scene
Drama activities
Guidance
Scene 1:
1917. Edward Dobson
leaves for the War.
Archie visits a field
hospital with his mother
and has a disturbing
dream about a gas attack
on the front lines.
Activity: still pictures in small groups
Working in small groups of three or four pupils make two contrasting still
pictures: the first shows the way Walter left for the War with a parade; the second
shows Edward walking to the station on his own.
Give the groups time to plan and practice their pictures. Then gain everyone’s
attention and strike the first still picture at your instruction…with each group
then moving smoothly and seamlessly into their second picture to a further
instruction.
Scene 2:
Archie visits a field
hospital with his mother
and has a disturbing
dream about a gas attack
on the front lines.
Activity: movement in small groups – Archie’s dream
Working in groups of about 4 the pupils re-create Archie’s dream. One pupil takes
on the role of Archie asleep – perhaps lying on the floor. The others stand some
way off and slowly move towards Archie with swirling movements, becoming the
‘gas’. As they reach Archie they hold hands and circle around him. When Archie
suddenly awakes those in the gas circle drop hands and slowly move away again.
You can use this freeze frame to open a discussion about how attitudes to the War
may be changing.
Poison gas was a new and terrible weapon of the War. The gas drifted across noman’s-land on the wind, keeping close to the ground and then sinking into
trenches. Encourage the pupils to think carefully about the ‘fluid’ movement of the
gas, how its tendrils search ahead, ‘feeling the way’. Also encourage pupils to think
how they can create a sense of climax as they circle Archie, immediately before he
awakes. After Archie awakes they should slowly retreat backwards, maintaining their
fluid, flowing movements, close to the floor.
Drama: Archie Dobson’s War – Part 3
D RAM A
Scene
Drama activities
Guidance
Scene 3:
Letters from France.
Edward Dobson writes
to his family but reveals
little about life on the
front line and Walter
writes his final letter to
Archie.
Activity 1: improvised talk in pairs / whole group
Edward’s letter conceals the truth about life at the Front, where Edward and the other
soldiers are preparing for a ‘big push’. One pupil in role as Edward / another soldier
makes a positive statement about his circumstances…and is immediately answered by
the other pupil speaking his inner thoughts – ie the truth. Or, if you wish to exercise
more control, organise the group as a circle and go around the circle yourself offering
a positive statement, with each pupil offering the opposite ‘truth’ in turn.
The activity aims to explore Edward’s stoicism and the reluctance of some soldiers
to let those at home know the reality of the War. Use the statements from
Edward’s letter as inspiration – eg ‘the weather is very mild’ or ‘I can hear birds
singing’ – which might be answered by ‘the weather is cold and wet’ and ‘all I can
hear are shells falling’.
Activity 2: whole group still picture
Ask one pupil to start a still picture showing a soldier in a trench about to go ‘over
the top’. One by one other pupils join the freeze frame, gradually building up an
imaginative picture of the line of soldiers in the trench, waiting for the order to
attack. Once everyone is in position you can move around the picture, inviting
pupils to say what they are thinking / feeling.
Organise pupils in a long zig-zag line, making the shape of the trench (trenches
were zig-zag to prevent firing along the line and to contain shell damage). Think
about how each individual will contribute to the whole picture. Someone will be
in command holding a whistle – ready to give the signal. Others may be making
final adjustments to kit…or holding ladders against the side of the trench.
This activity prepares for the sombre news of Walter’s death that follows.
Scene 4:
Joe Carter arrives at
the Dobson’s house.
His family has received
notification of Walter’s
death.
Activity: small groups, improvisation
Working in small groups pupils improvise a scene in which a family – like the
Carters – receive notification that a loved one has been killed. They freeze the
scene at the point the letter is opened and the news shared.
Ask groups to really think about how they will make their pictures dynamic – and
not simply heads bowed. Who will be holding the letter and how? Will the family
members be close together – perhaps trying to see the letter – or far apart?
Scene 5:
Mabel disappears. It
turns out she has tried
to volunteer for the
Women’s Land Army.
Activity 1: whole group storytelling
Sitting in a circle, pupils work together to tell the story of a girl like Mabel who runs
away to join the Women’s Land Army but is sent back because she is too young. Go
around the circle, inviting pupils to add a line each to the story in turn.
Before you start, re-cap what happens to Mabel in the story. Encourage pupils to use
descriptive sentences as well as sentences which move the narrative forward. They
might describe locations from the story, or the character or the emotions of the girl
who has run away. How will the group’s story differ in detail from Mabel’s?
Drama: Archie Dobson’s War – Part 3
Activity 2: talk in role in pairs
After Mabel has returned she suggests that her actions have been motivated by a
desire to do something to make a difference and that Archie and her Mum ‘probably
won’t understand’. Explore what Mabel means by improvising a conversation
between a child (like Mabel) and a parent (like her Mum) in this situation.
You could conclude with a brief discussion. Did pupils think that this would be
the outcome for Walter? If so, why? Do they think it was a typical outcome for a
soldier in World War 1? (Close to 1 million British soldiers died in the conflict –
so this scene is one that would have happened in households all over the country).
The parent wants to discover more about what made the child feel the need to
run away…while at the same time seeking to be entirely reassuring. And the child
needs to attempt to explain what motivated them to do what they did. Move
among pairs listening to the conversations and questioning where necessary to
establish detail. At the end you could select some pairs to demonstrate their
conversations for everyone else?
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D R AM A
Scene
Drama activities
Guidance
Scene 6:
The War comes to
an end.
Activity 1: whole group – improvisation in role
Everyone in the group chooses a character from the story to become. Then they
move around the space meeting and greeting everyone else, sharing the news they
have just heard that the War has ended. When they meet pupils can tell each other
who they are and what the end of the War means for them.
Re-cap the story before you begin and consider the ways the War has changed the
lives of the characters. Each pupil can choose a role or you can allocate them – try
to ensure that as many characters as possible are included. Think beyond the main
characters – what about those in Burside Hall, for example, whose home was turned
into a military hospital? What might the end of the War mean for them? And how
do pupils think their characters will feel about life after the War? How will their lives
change again?
Activity 2: whole group – living picture
Invite one pupil to come and make a still image, showing somebody at a street party,
celebrating the end of the War. One by one the others pupils join in alongside,
until the whole group is in the picture. On your signal the pupils come to life with
movement and sound. Then, at another signal from you, freeze the picture and then
move around tapping pupils on the shoulder for them to explain how they are feeling.
You might also choose to extend this activity by creating contrasting family scenes,
showing a family like the Dobsons who have chosen to mark the end of the
War differently.
Scene 7:
Edward Dobson returns
home.
Activity: still images in small groups
In groups discuss the story of ‘Archie Dobson’s War’. Each group picks out six key
moments and recreates them in a series of still pictures.
You may wish to preface the activity with a discussion of the decision made by the
Dobsons to see their cousins rather than go to the celebration in Glaveston. Ask
pupils to think about the fact that although they are holding a ‘celebration’ for
many people the outward signs of joy will be masking inner sorrow. Indeed you
may choose to determine that the spoken thoughts provide a clear contrast to the
outward signs of celebration.
Give pupils time to plan and practice. They might consider a family member
making a short speech, remembering those who have been lost.
A way of summarising the story and fixing it in pupils’ memories. Think about
the shape of Archie’s narrative and how his views have changed across the story.
Which episodes can be chosen to best illustrate this?
Organise pupils in groups of 4 to 6 and set them a finite time period to prepare.
Then, when it comes to showing the pictures, you could either: a) have everyone
strike their pictures at the same time, moving from one picture to the next at your
instruction (encouraging a smooth transition between them); or b) allow each
group to show their pictures to everyone else in turn – in which case you could
invite those watching to identify the scenes and say what they like about each
group’s work.
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Drama: Archie Dobson’s War – Part 3
M USI C
The Music programmes
The three music programmes provide lots of support for class singing skills, for language and rhythm activities, as well as reflection on the history and background to World War 1 - from the serious
aspects of trench warfare and the loss of life on a huge scale, to some light-hearted moments reflecting the ironic humour shown by troops at the time. There are also starting points here for the children
to perform with classroom instruments and to develop original composing and creative music-making.
Summary of Music skills and concepts
Programme
Performing skills, controlling sounds
Composing skills, creating
and developing ideas
Appraising skills, responding
and reviewing
Listening and applying
knowledge and understanding
1. Listen to the
fields
•eeping in time with a beat
•mitating rhythms
•choing melodic patterns and ‘leaps’
•ollowing and repeating words accurately
•sing different ‘vocables’ (eg doo-ing, humming,
la-ing, whistling, etc)
•aking sounds ‘flow’ smoothly in ‘phrases’ and
taking breaths
•erforming with changing dynamics (especially very
quietly)
•hanging speed/tempo (especially slowing down)
•omposing three-note tunes
•nventing rhythm-patterns
•sing ‘graphic scores’ to
symbolise real-world sounds
and as a framework or ‘map’
for performing sounds with
instruments and voices
•ecognising and discriminating
between melodic shapes
(eg bugle calls)
•ecognising ‘motifs’ in ‘sequence’
•ecoming aware of social and
historical influences on musical
moods and styles
•ecognising bird-sounds and bellpeals
•ecognising changing moods
within musical styles
•inding out about a ‘medley’
(a collection of songs, one after
another)
2. Stuck, stuck
in the middle
•ery quiet singing, in a ‘half-whisper’
•inging with ‘sentimentality’ and ‘irony’
• ‘lilting’ and swaying to a waltz rhythm
•lowing down and picking up speed
•inging notes accurately that are close in pitch
•inging a short phrase in ‘two-part harmony’
•histling while clicking fingers; singing to ‘la’
and ‘doo’
•‘pausing’
• 'waiting’ – creating a group-piece
evoking aspects of time passing,
in the context of World War 1
• ‘Over the top!’ – creating a
group-piece evoking the sounds of
trench warfare
•ecognising and adapting wellknown tunes and songs from the
past
•dentifying accurate pitch
differences and contours (up and
down, high pitch notes and also
low ones)
•nderstanding how emotions in
music can be interpreted in varied
ways (eg with fear, cheerfulness,
irony, etc)
Music – the Music programmes
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MU SI C
Programme
Performing skills, controlling sounds
Composing skills, creating
and developing ideas
Appraising skills, responding
and reviewing
Listening and applying
knowledge and understanding
3. Can you,
can you
remember?
•erforming with abrupt changes of mood (especially
in Medley 4)
•hifting phrases ‘up in pitch’
•inging quietly and reflectively
•djusting vocal performance to varied controlled
emotions and ideas (eg memories, anger, pain,
fear, friendship, warmth, softness)
• ‘holding on’ to particular words
•xperimenting with ‘bugle calls’
on classroom instruments
•ransforming chaotic and
aggressive musical patterns into
calmer, more constructive or
natural patterns
•ecognising particular noteintervals (eg the rising-fifth in
the ‘Last Post’ and ‘Can you, can
you remember?’)
•ecognising bell-like patterns
(falling and rising, down and up)
•nderstanding how music can
work across time (eg through
memory) and across generations
(eg through collective memory),
to signify and recall events, images
and emotions – connecting with
the past
Listening to the programmes
If listening as a whole class, ensure that the sound equipment is positioned so that it can be heard clearly by everyone and without excessive echo. Depending on numbers and location, it can
be helpful to position the class in a semi-circle arrangement (eg in several rows). There is an opportunity in programme 5 for singing in ‘two parts’, as well for singing in two languages after the
programme, so you may wish to divide the class into two halves for these activities.
For a variety of vocal warm-ups before the programme, see: www.bbc.co.uk/sing/learning/warmingup.shtml
Word patterns and chants based on short sections of some of the song lyrics are useful preparation, as are tongue-twisters, focusing separately on vowels and consonants, face exercises (eg exaggerated
smiling, wide-mouth, chewing toffee), breathing deeply, and singing scales to ‘doo’, ‘la’ and humming.
You can vary sitting and standing during the programme (eg sitting to learn the different sections, then standing to perform the whole songs and complete medleys), depending on your situation.
Good standing posture for singing involves straight backs, standing tall, with loose knees and feet slightly apart.
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Music – the Music programmes
M USI C
1
Listen to the fields
Focus
Beat and rhythm; melodic patterns and leaps; smooth phrases; changing dynamics
Musical styles
Contemporary-lyrical, influenced by English early-20th century ‘pastoral’. Post-Edwardian
‘patriotic’ anthems and army-marching songs.
‘Recruitment medley’ A
The children tap their knees in time, while following the words of a patriotic song ‘Your
King and country want you.’
‘Recruitment medley’ B
Listen to two lines at a time of the chorus to ‘It’s a long way to Tipperary’, then copy the
words and tune.
‘Recruitment medley’ C
You will need…
Perform the tune of the chorus to ‘Pack up your troubles’, ‘doo’-ing, then humming, then
whistling, then singing to ‘la’. Repeat, making the sounds flow.
Lyrics for the song ‘Listen to the fields’ and the ‘Recruitment medley’ via digital-projection,
whiteboard, print-outs, or a smaller screen (if in smaller groups). You may also like to refer
to the separate melody and chords provided for these songs.
Drills sequence
Before the programme
Listen to the fields, verse 1
Discuss how the main context for the programme is the hot summer of 1914 before the
outbreak of war, the enthusiastic recruitment songs at the beginning of the war and the sense
of foreboding about what might follow.
What we will be doing
Introduction
The children are asked to remember their early experiences, then imagine to when their
parents were young, then their grandparents, great-grandparents and even great-greatgrandparents, linking to the situation in 1914…
Music 1 – Listen to the fields
Imitate four short military drum-rhythms by clapping, and learning that these worked like a
‘code’ to convey orders. Listen to bugle-calls for ‘advance’, ‘cease-fire’ and ‘wake-up!’
Learn the song in sections. In the first part (lines 1-5) the tune rises and falls in ‘phrases’
with melodic ‘leaps’, with references to birdsong and quiet church-bells. The second part
(lines 6-12) is faster and busier (four beats in a bar), with step-wise ups and downs, to reflect
the stream and river, the ‘hustle and bustle’ of the town and the sunset.
Listen to the fields, verse 2
Here the words need to flow naturally. The children ‘linger’ on quiet notes at the end,
slowing down to hold the last note, as the thunder rumbles in the distance…
‘Recruitment medley’ performance
Make your voices bright and positive for ‘Your King and country want you’, ‘It’s a long
way to Tipperary’ and the tune of ‘Pack up your troubles’.
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MU SI C
Listen to the Iields, whole song
Links to the dance and drama programmes
Perform the whole song, returning to the slow, thoughtful mood, reflecting the summer of
1914 and the serious times ahead.
Try to blend all voices together for a smooth, thoughtful sound
(as if one voice).
Drama 1
‘Archie Dobson’s War, Episode 1’ focuses on 1914, when the central character Archie begins
to absorb the news that war is declared and his cousin Walter signs up.
Dance 1
Follow-up ideas
Listening
As well as popular music of the time, English orchestral music by composers such as
Butterworth and Holst offers another dimension to help children identify with the mood of
the period around 1914.
‘Countdown to war’ includes marching and training activities (to ‘It’s a long way to
Tipperary’ and ‘Pack up your troubles’) and a contrast between ‘town’ and ‘country’
(based on elements of ‘Listen to the fields’), as well as a tango-like masters’ dance called ‘A
proper walkabout’.
Composing coded messages
Following the ideas in the ‘Drills sequence’, invent simple rhythm-patterns on unpitched
instruments (eg drums, tambourines, woodblocks, etc) and two-note or three-note tunes
on pitched instruments (eg recorders, ukuleles, keyboards) to convey
coded messages.
Composing ‘Countryside, town and changing weather’ music
Using the stimulus of ‘Graphic score 1’, groups create music for ‘Countryside, town and
changing weather’, including sounds to evoke rustling wheat, birdsong, distant bells
ringing, a stream and river flowing, town and factory, home life, wheat again, birds again,
and thunder rumbling…
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Music 1 – Listen to the fields
M USI C
2
Stuck, stuck in the middle
Focus
Beat and rhythm; melodic patterns and leaps; smooth phrases; changing dynamics
Musical styles
Waltz, ‘Palm court’ and Music hall.
You will need…
Lyrics for the song ‘Stuck, stuck in the middle’, the ‘Trenches medley’ and the ‘Christmas
truce’ medley, via digital-projection, whiteboard, print-outs, or a smaller screen (if in
smaller groups). You may also like to refer to the separate melody and chords provided for
these songs.
‘Trenches medley’ A
Listen to and copy two lines at a time of the song ‘Hush, here comes a whizz-bang’, singing
very quietly. A ‘whizz-bang’ was a small bomb or shell that ‘whizzed’ through the air, and
‘No-man’s-land’ was an area between two sets of trenches.
‘Trenches medley’ B
Soldiers often made up their own words to fit well-known songs and hymn-tunes. Copy a
line at a time of the song ‘When this lousy war is over’ (to the tune of ‘What a friend we
have in Jesus’).
‘Trenches medley’ C
Sing the words of ‘We’re here because we’re here’ – the three words ‘we're here because’
repeated over and over, to the familiar tune of ‘Auld lang syne’ (as sung nowadays at
New Year).
Stuck, stuck in the middle, verse 1
Before the programme
Discuss how the scene shifts to France during 1914-16, where Britain and its allies are now
at war with Germany.
What we will be doing
Introduction – in the trenches
The children imagine being stuck in mud-filled trenches, under fire and in fear. At this time
during World War 1, soldiers made jokes and sang songs to keep up their spirits.
Music 2 – Stuck, stuck in the middle
Learn to sing a few bars at a time, swaying your body gently to the ‘lilting’ waltz-feel. Pitch
the close together notes carefully, slowing down at ‘think of you’ (where there are two
harmony parts you can try after the programme). Watch out for the high notes at ‘Whizz,
bang, thud!’
Stuck, stuck in the middle, verses 2, 3 and 4
Verse 2 is singing ‘doo’, whistling and clicking-fingers. In verse 3, slow down at ‘Whizz,
bang, whoosh!’ – then in verse 4, sing ‘la’, then ‘doo’ again.
Stuck, stuck in the middle, verse 5 and Coda
The ‘coda’ (extra end section) has a pause after ‘Kingdom come’ and the singing
can emphasise the irony of the ‘cheerful’ tune, contrasting with the seriousness of the
actual situation.
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MU SI C
‘Christmas truce’ medley
Links to the dance and drama programmes:
In a ‘flashback’ to Christmas 1914, the children imagine the time when letters and reports
tell us that soldiers from both sides came out of their trenches for a few hours of peace – the
‘Christmas truce’. They recreate the scene in music, by singing ‘While shepherds watched’
(to the joke words about washing socks in coal-tar soap) and then the famous ‘Silent night’.
(See Follow-up ideas for extending this activity).
Drama 2
‘Trenches medley’ performance
‘Over by Christmas’ includes trench-digging actions to some of the medley-tunes, slow,
nervous actions based on life in the trenches, a munitions-factory sequence and an extended
exploration of the Christmas truce music, in movement.
Sing ‘Hush, here comes a whizzbang’ (in a half-whisper), ‘When this lousy war is over’
and ‘We’re here because we’re here’ joined up.
‘Archie Dobson’s War, Episode 2’ focuses on 1914-1916, when a postcard arrives from
Walter, a Zeppelin arrives in England, and Archie’s father Edward is called up.
Dance 2
'Stuck, stuck in the middle', whole song
Perform the whole song, swaying gently with the lilting waltz-rhythms and remembering to
slow down and pick up speed in the right places.
Follow-up ideas
Performing ‘Stille Nacht/Silent Night’
Using the extra online accompaniment, two groups (eg the class divided into two) sing a
version of ‘Silent night’, where the German words (‘Stille nacht’) are echoed, line-by-line,
by the English words. See online for the words.
Composing ‘Waiting’ music
Using the stimulus of ‘Graphic Score 2’, groups create music for ‘Waiting’, including sounds
to evoke feet marching, thunder-rumbles, bugle-calls, horses, distant guns, mud and a
pocket-watch ticking…
Composing ‘Over the top!’ music
Using the stimulus of ‘Graphic score 3’, groups create music for going ‘Over the top!’,
including sounds to evoke whistles, voices, bugle-calls, guns, rifles, tanks, horses
and chaos…
22
Music 2 – Stuck, stuck in the middle
M USI C
3
Can you, can you remember?
Focus
Performing with changes of mood, adjusting vocal performance to varied emotions; pitch
discrimination and intervals; singing quietly and reflectively.
Musical styles
Quiet and reflective.
You will need…
Lyrics for the song ‘Can you, can you remember?’ and the ‘End in sight? medley’ via digitalprojection, whiteboard, print-outs, or a smaller screen (if in smaller groups). You may also
like to refer to the separate melody and chords provided for these songs.
Before the programme
Discuss how the third music programme moves from the turning point of World War 1 to
its aftermath, exploring ways we might learn from the events and ‘remember’ them. Ask the
children if any of their families (or local people, or museums, etc) have any items they could
loan (eg photographs, copies of letters, poems, documents, etc), which might help to share
memories across the generations, back to a hundred years ago and into the future.
‘End in sight?’ medley A
Remember and sing the simple words to ‘We’re here because we’re here’, set to the tune of
the famous ‘Auld lang syne’.
‘End in sight?’ medley B
Listen to and copy two lines at a time of ‘Over there’, a lively American patriotic song,
written to motivate American troops in 1917.
‘End in sight?’ medley C
Hum the first part of the famous ‘Home! Sweet home’, then join in the easy words for the
last three lines.
Bugle calls
Listen to part of the ‘Last Post’ (based on a slow, quiet bugle call) heard at Remembrance
Day each year – giving a chance to reflect on lost lives and space to think.
'Can you, can you remember?' – verse 1 and chorus
Learn to sing the music in sections, beginning with a quiet, reflective ‘rising-fifth’ like the
Last Post (line 1), then shifting this up in pitch (line 2), then with pauses on the words
‘singing’ and ‘ringing’ (lines 3-4), then with a tune falling and rising like pealing bells (lines
5-6, the chorus).
'Can you, can you remember?' – verse 2 and chorus
What we will be doing
Facts and figures
Against a background of trench war sounds, we hear of the nine million soldiers who died,
twenty million soldiers who were wounded and of the twenty million plus other people who
lost their lives as a direct result of World War 1.
Music 3 – Can you, can you remember?
Sing with controlled emotion in the voice, to reflect the words’ focus on anger, pain and fear
and the questions in the chorus.
'Can you, can you remember?' – verse 3 and chorus
Sing with warmth and softness in the voice.
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MU SI C
'Can you, can you remember?' – verse 4, chorus and coda
Dance 3
The ‘coda’ (extra end section) is just the same as the first line sung slowly and thoughtfully
and with a long pause on the last note. Verse 4 is a chance to reflect on how memories can
be shared across the generations.
‘Over the top!’ includes a Ragtime ‘Grizzle and growl’ dance to mark the entry of America
into the war, a ‘No-man’s-land’ sequence to convey contrasting feelings of bravery and
fear, and a structured ‘Remembrance’ section (developing the music of ‘Can you, can
you remember?’)
‘End in sight?’ medley performance
Perform ‘We’re here because we’re here’, ‘Over there’ and ‘Home! Sweet home’,
joined together.
'Can you, can you remember?' – whole song
Perform the whole song, remembering the pauses on ‘singing’ and ‘ringing’ (verse 1),
controlled emotion (verse 2), warmth and softness (verse 3), quiet reflection (verse 4) and
the long pause on the last note (coda).
Follow-up ideas
Bugle calls
Experiment with quiet, 'Last Post'-type bugle calls on tuned instruments (eg recorder,
melodica, glockenspiel, etc), using just a few notes.
Composing wartime-peacetime music
Using classroom instruments, explore ways to transform chaotic or aggressive musical
patterns into calmer, more constructive, or natural ones (eg related to the images in the
song-words – rustling wheatfields, skylarks singing, bells ringing). Develop a ‘graphic score’
together, as a way to ‘cue in’ instruments and sounds in your performance.
Links to the dance and drama programmes
Drama 3
‘Archie Dobson’s War, Episode 3’ focuses on 1916-1918, when Archie dreams of a gas
attack, his cousin Walter is killed in action, his sister Mabel runs off to join the Women’s
Land Army and his father Edward returns home.
24
Music 3 – Can you, can you remember?
M USI C
Programme 10 - Sound resources
9. Backing track for the carol ‘Silent Night’ with each line repeated for two groups singing
in German and English. The backing track continues with an instrumental version of
the carol.
The final download of the series provides a range audio resources intended to enhance your
staging of the play Archie Dobson’s War. They include the backing tracks for all the songs,
incidental music and sound effects.
10. A referee’s whistle followed by the melody of ‘Silent Night’ for the 'Christmas truce'
movement activity.
The audio resources are also available from the WW1 Performance Pack pages of the
School Radio website in two ways: i) downloadable files of each individual audio resource;
ii) a single streamed file, with ‘chapters’ so that each audio segment can be quickly and
conveniently ‘cued’ ready to play.
12. Sound effect: bombs exploding
Downloading the individual audio files may appeal to you if you wish to use an mp3 player
to play the music and sound effects during your performance. Otherwise you can use the
‘chapterised’ streaming file on the School Radio website by connecting your computer to a
sound system before your performance.
15. A whistle for ‘going over the top’ followed by gunfire and the melody of the song ‘Stuck,
stuck in the middle’
The correct point in the performance to play each audio resource is clearly marked in the
playscript for Archie Dobson’s War. You will see each audio cue marked in red, with the words
‘Audio resource’ followed by a number.
18. Music for the armistice celebration
11. Sound effect: a Zeppelin approaching
13. Drum beats for marching feet
14. Backing track for the songs ‘When this lousy war is over’ and ‘We’re here because we’re
here’
16. Backing track for the song ‘Over there’
17. A bugle plays the ‘Last Post’
19. Backing track for the song ‘Can you, can you remember?’ followed by an instrumental
version with a tolling bell
The complete list of audio resources is:
1. Backing track for the song ‘Listen to the fields’
2. Drum beats for marching feet
3. Sound effect: a factory hooter
If you have any queries about how best to incorporate the audio resources in your
performance please contact us using the website:
www.bbc.co.uk/learning/schoolradio/contactusform
4. Drum beats for marching feet again
5. Backing track for the chorus of ‘Your King and country want you’ – sung twice
6. Backing track for the songs ‘It’s a long way to Tipperary’ and ‘Pack up your troubles’.
There are two choruses of ‘Tipperary’ – the first to march to and the second to sing to.
7. Sound effect: exploding shells
8. Backing track for the song ‘Stuck, stuck in the middle’
Programme 10 – Sound resources
25
D A NCE
1
Countdown to war
The movement sequences in this programme explore life in the town and countryside pre-1914
and conclude with the military training at the outbreak of War.
Summary
Half the class are rich, 'important' masters showing off 'The Castle Walk' dance around the edge
of the room, while the other half are the busy servants – rushing here and there to polish, scrub
or dust!
Warm-up
Sequence 3: Soldier training
Marching to a regular beat – on the spot, and then travelling round the room.
Alone, in pairs, and then in groups of 4; march forwards together in evenly spaced formation,
with quarter turns (90 degrees) to the right or left, and half turns (180 degrees) to face the
opposite direction.
Sequence 1: Working hard in the country or the town
Half the class perform strong, sustained, crop-scything actions inspired by Edwardian farm
workers while the other half perform quick, light, repetitive movements inspired by workers
operating machinery in a bustling Edwardian factory.
Cool down
Gentle stretches and balances.
Sequence
Content
Guidance and Evaluation
Warm-up
Energetic marching to a regular beat – first, on the spot, and then travelling round
the room.
Do dancers keep to the beat?
In the country: harvesting with scythe
Holding handles of an imaginary scythe, pupils twist their bodies round from
right side to left as they swing arms round to cut imaginary crop. Then they twist
bodies and swing arms back round to the right side, ready to repeat crop-scything
action. When confident, they stand one behind the other to form a class circle
and travel around the edge of the room performing the smooth, controlled, cropscything action – 'swing round and slice…step forward and swing back…'
Crop-scything action should be strong but also smooth and controlled.
In the town: operating factory machines
Dancers develop a short, repetitive, mechanical sequence; pushing, pulling,
twisting and turning imaginary buttons and levers.
Can they repeat their sequence accurately?
Sequence 1a: Working
hard…
Sequence 1b: Working
hard…
26
Sequence 2: Masters and servants
Do they lift knees high and swing arms energetically
by sides?
Do dancers move in unison - following the music to perfect the timing of this
group harvesting sequence?
Do they tense their muscles and use appropriate facial expression to show how
hard they’re working?
Are the movements quick, mechanical and jerky?
Dance 1 – Countdown to war
D ANCE
Sequence
Content
Guidance and Evaluation
Sequence 1c: Working
hard...
Combine a + b
Half the class perform the crop-scything action around the edge of the room while
the other half perform the factory machine operating actions in the middle of
the room.
Is there a clear contrast between the smooth, controlled harvesting action and the
jerky, mechanical, factory actions?
Sequence 2a: Masters
and servants
Masters dance ‘The Castle Walk’
Pupils hold an imaginary partner and show off the latest dance steps: it’s 4 steps
forward, and 4 steps back again – stepping lightly on the balls of feet.
Dancers should hold one hand raised – as if resting on an imaginary partner’s
shoulder or waist, and the other out to the side.
‘The Castle Walk’ is a popular dance of the period – specially designed to be
simple to dance. You can watch a tutorial for the actual dance here:
Encourage a posh, upright pose with head high and turned slightly to the side –
like a rich and important master or mistress of a grand Edwardian house.
www.youtube.com/watch?v=sMyEnTZP0yI
The BBC is not responsible for the content of external websites.
Sequence 2b: Masters
and servants
Busy servants
Dancers dash through the spaces with small, busy steps – stopping every now and
then to polish the silver, or scrub the floor, or dust the chandelier.
Dancers should move with quick, bustling steps.
Sequence 2c: Masters
and servants
Combine a + b
Half the class dance as the masters performing ‘The Castle Walk’ around the edge
of the room, and then the other half perform the busy servants sequence in the
middle of the room.
Do dancers from both groups use contrasting facial expression and exaggerate
their moves to convey the humour of this sequence?
Sequence 3a: soldier’s
training
Marching
Enthusiastic marching steps to the beat of the music. Stop and salute.
Dancers should maintain stiff, upright position as they lift knees high and swing
arms enthusiastically by sides.
Take 7 marching steps forward, then turn sharply to change direction on eighth
beat, and repeat.
Do they count the steps correctly in their head and turn sharply on the 8th beat?
Pairs
Everyone joins a partner nearby and stands side by side, an arm’s length away
from one another. Pupils stay next to their partners as they march through the
spaces together. Then they stop and salute. Then take 7 marching steps forward,
both turning sharply on eighth beat (a quarter turn to the right), and repeat.
Do partners march and turn at the same time as one another?
Sequence 3b: soldiers
training
Dance 1 – Countdown to war
They should tense their muscles to show how hard they’re working.
Are the quarter turns sharp and precise?
27
D A NCE
Sequence
Content
Guidance and Evaluation
Sequence 3c: soldiers
training
Groups of 4
Each pair joins another pair nearby to make a group of 4, standing one pair
behind the other. They check they’re an arm’s length away from the person by
their side and the person in front of them. Then they march forwards together.
Then stop and salute. Then take 7 marching steps forward, all turning sharply on
eighth beat (a quarter turn to the right), and then repeat.
Does each group of 4 maintain its equidistant marching formation throughout
the sequence?
Sequence 3d: soldiers
training
Experiment.
Try marching in different sized and organized formations, using quarter and half
circle turns to change direction.
Can dancers co-operate to explore a range of different group formations and
marching patterns?
Cool down
Pupils walk to a space with small, slow steps. They stand up straight and tall.
They stretch arms out to the sides to balance as they slowly raise alternate knees
up high.
Dancers should keep back straight and focus forward as they balance with
raised knee.
Do they march and turn in unison; moving at the same time as the rest of
their group?
A scythe in use in modern times
28
Dance 1 – Countdown to war
D ANCE
2
Over by Christmas
The content in this programme contrasts life in the trenches with life on the Home Front.
Sequence 2: The Homefront – munitions workers
Summary
Groups of about 4 form munitions production lines to perform set actions (push, pull, jump,
turn) – one after the other and then together in unison. Each group develops their own
production line sequence, varying the size, direction and speed of the actions.
Warm-up
Sequence 3: Christmas truce
Digging trenches. Rhythmic ‘dig and throw’ actions – march to a new space and repeat.
Sequence 1: Life in the trenches
Walking along the zig-zagging, muddy trenches with small, careful steps. Joining one or two
people nearby to create a short sequence based on a selected trench-life activity – eg playing
cards, writing a letter, eating a meal, sharing a story.
Class divided into 2 equal group lines; sitting along opposite ends of the room. ‘Silent night’
cues slow, cautious steps towards person from opposite line – to shake hands and perform slowmotion footballing sequence together.
Cool down
Walk to a space for a series of slow, gentle stretches – back, legs, arms, whole body.
Sequence
Content
Guidance and Evaluation
Warm-up
Digging trenches
Strong, rhythmic ‘dig and throw’ actions. Pupils walk to a new space with tired,
heavy steps, and repeat ‘dig and throw’ actions.
Do dancers perform the actions with strength and energy?
Sequence 1a: Life in
the trenches
Pupils a pathway along the zig-zagging, muddy trenches with small, careful steps.
Do dancers use appropriate body language – hunching shoulders to stay low?
Sequence 1b: Life in
the trenches
Paired or small group short sequence based on a selected trench-life activity – eg
playing cards, writing a letter, eating a meal, sharing a story. Pupils select one key
movement for their chosen activity that they can repeat and develop throughout
the sequence.
Can dancers work together to select and develop an appropriate key movement
motif for their sequence?
Sequence 1c: Life in
the trenches
Combine a + b
Pairs or small groups travel along zig-zagging trenches together with small, careful
steps. When the music stops, they perform their trench-life activity sequence
together. When the music starts again, they continue their journey along the zigzagging trenches.
Partners or small groups should stay close to one another as they travel together.
Dance 2 – Over by Christmas
When the music stops, dancers should move smoothly on to perform their trenchlife sequence together.
29
D A NCE
Sequence
Content
Guidance and Evaluation
Sequence 2: The
Homefront –
munitions factory
workers
Groups of about 4 form munitions factory production lines to perform set actions
(push, pull, jump, turn) one after the other and then in unison. Each group
develops their own rhythmic production line sequence, varying the size, direction
and speed of the actions.
Do group members co-operate to perfect the split second timing of this sequence
– sometimes performing together, and sometimes one after the other?
Do they vary the size and direction of the set actions to create an effective
sequence?
NB - always come back to your original position so that you can repeat your
action again and again.
Sequence 3: Christmas
Day truce
Class divided into two equal group lines, sitting along opposite ends of the room.
With the Christmas carol ‘Silent Night’, they slowly stand and walk towards each
other with small, silent steps.
Dancers slowly reach out and shake hands with someone from the opposite
line, and then walk to a space with that person to perform a short, slow-motion
footballing sequence together. At the end of the carol, they shake hands again and
walk slowly back to their side of the room.
Cool down
Everyone walks to a space for a series of slow, gentle stretches – back, legs, arms,
whole body.
This sequence should have a slow, controlled, dream-like quality.
Do partners create an effective slow-motion sequence – developing selected
football actions into dance moves?
Do they use the structure of the music to cue the different parts of the dance?
Do they hold a strong focus with their footballing partner to finish?
Important! Increase the stretch slowly, and only stretch as far as feels
comfortable.
Two contrasting examples of village war memorials
30
Dance 2 – Over by Christmas
D ANCE
3
Over the top!
This programme focuses on the end of the War, commemoration and remembrance.
Sequence 2: Grizzly bear dance
Summary
Popular, humorous ragtime dance: Step 2, 3, claws! Step 2, 3, claws! Step 2, 3, 4, 5, 6, 7, claws!
First person look terrified! Second person look terrified! And step 2, 3, 4, 5, 6, 7, claws!
Warm-up:
American Ragtime! Moving to lively, optimistic ragtime beat: Step 2, 3, pose! Step 2, 3, pose!
Step 2, 3, 4, 5, 6, 7, pose!
Sequence 1: No-man’s-land!
Class divided into 3 equal lines, standing one line behind the other, along one side of the
room. In turn, each line moves slowly forward across no man’s land with sometimes brave and
sometimes fearful steps. Dancers freeze in a strong battle-pose to finish.
Sequence 3: Remembrance
In follow-the-leader lines of 6. Each group line walks slowly forward to spread out across the
width of the room. Lines should end up parallel and equally spaced – like rows of war-graves in
WW1 cemetery. Finally, each group forms the shape of a war memorial.
Cool down
Deep, gentle breaths with slow, controlled stretches, and relax.
Sequence
Content
Guidance and Evaluation
Warm-up
American ragtime!
Moving to a lively, optimistic ragtime beat: Step 2, 3, pose! Step 2, 3, pose! Step 2,
3, 4, 5, 6, 7, pose!
Dancers should lift knees high and step lightly onto balls of feet.
The class is divided into 3 equal lines, standing one line behind the other, along
one side of the room.
Do dancers use appropriate facial expression and body language to convey
contrasting feelings of bravery and fear?
Lines move slowly forward, one after the other with sometimes brave and
sometimes fearful steps.
Do they move effectively as a group – using eye contact or gestures to support and
encourage one another?
When they reach the other side of the room, they freeze in a strong, battle pose
to finish.
Do they keep still in their battle pose while the next group is moving forward?
Sequence 1: No-man’sland!
Dance 3 – Over the top!
Encourage strong, confident poses.
Can they repeat the step pattern without the presenter’s help?
31
D A NCE
Sequence
Content
Guidance and Evaluation
Sequence 2: Grizzly
bear dance
Partners face one another and step round together in a small circle – but each time
the presenter says ‘claws’ they lift up their long, sharp claws and make a roaring,
grizzly bear face.
Partners should use the same light, ball-of-the-foot steps they practiced in the
warm-up.
Next, partners take turns to lean back with a horrified expression – as if startled
by a terrifying grizzly bear.
Finally, they repeat the circling steps and ‘claws’ sequence.
Do they exaggerate the grizzly bear actions/reactions to effectively convey the
humour of this dance?
Do partners use the structure of the music to remember and perform the different
parts of the dance with confidence?
This dance is based on a popular dance of the ragtime era. You can watch a
tutorial for the actual dance here:
www.youtube.com/watch?v=sMyEnTZP0yI
The BBC is not responsible for the content of external websites.
Sequence 3:
Remembrance
In follow-the-leader lines of 6.
Each group line walks slowly forward to spread out across the width of the room.
With the sound of the bugle, dancers slowly raise their arms to make the shape of
a cross, or solemnly bow their head.
Cool down
32
Group lines should end up parallel and equally spaced – like rows of war graves in
a WW1 cemetery.
Dancers should maintain a solemn, respectful mood throughout this sequence.
Can dancers move smoothly into the war memorial shape?
Finally, each group forms the shape of a war memorial: 2 people stand back to
back to form the memorial stone or cross, while the remaining 4 people face in
towards them, holding one another’s outstretched hands like a square-shaped
chain surround. (See photographs) The 4 people forming the chain surround,
slowly bow their head and kneel down.
Can dancers use the structure of the music and the sound effects to cue the
different parts of the dance?
Deep, gentle breaths as you slowly lift up from the waist and stretch arms above
your head. Hold stretch for a few seconds, then relax.
Dancers should breath gently in through the nose and out through the mouth.
Hold stretch still before slowly relaxing arms back down.
Dance 3 – Over the top!
LYRI CS AND MUSIC
Listen to the fields
Slowly, thoughtfully and lingering

  
Bm7
E4/B


Bm7

C©m7/B
Bm7


Lis - ten to the fields of
Lis - ten to the fields of
2nd time to


9
1.
Bm7
E
 

     


   
Bm
  


25
F©7

town,
Bm7
And thestream flows through the mea - dow,
Bm
    
 

Rust - le in the sum - mer sun,
See the clouds roll past the moon,
p
in the dis - tance...
F©m7

C©m7
pp
    
in the dis - tance...
E4


E6+4
    
in the dis - tance...
Bm/D
Bm7
All the peo - ple

F©m7
 
    
the


E7
And the fish swims
Bm6
to the riv - er,
F©m7
And the riv - er
E4
push - es
on - wards
Bm/D
E7
Past the vil - lage
F©m7


                     










  

34
Listen to the fields
      

Bm6
and the fac - tory
And the hust - le
and the bust - le
And thehome - life
and the voi - ces
And the sun - set
to the
  
tum - bles down...
rit.
2.
Hear
wheat
wheat,
Bm7

              

     

   
   

  

 

Amaj7
Hear the church - bells ring -ing
Faster and busier
C©m7

F©m7
Hear the sky - lark sing - ing out
Hear the wind of change, it blows,
17
    
Words and music: Barry Gibson

thun - der
Amaj7


rum - ble

in

the


dis - tance...
pp
p

in

the


dis - tance...
[email protected] 01844 260496

F©m7+9

in

the




dis - tance...
33
LY RI CS AND MUSIC
Listen to the fields
Listen to the fields of wheat
Rustle in the summer sun,
Hear the skylark singing out
Hear the church bells ringing
In the distance...
In the distance...
In the distance...
And the stream flows
Through the meadow
And the fish swims
To the river
And the river
Pushes onwards
Past the village
To the town
All the people
And the factory
And the hustle
And the bustle
And the home life
And the voices
And the sunset
Tumbles down...
Listen to the fields of wheat
See the clouds roll past the moon,
Hear the wind of change, it blows
Hear the thunder rumble
In the distance...
In the distance...
In the distance...
34
Listen to the fields
LYRI CS AND MUSIC
To a lively march rhythm
 


 
11
Bm7
both
need

31
D7

thank
you,

TUNE
B
D7

bless

D7

know!

G
 
Good - bye
A7
   


Picc a
Doo
do - do do - do do - do
D7
G
hmmm

(whistle
you

dil - ly,


and
you
It's a long way

C

G

doo, - doo,
C
-
   
 
to
go,



our
might
and
back
a

-

)
  
    
to the sweet - est girl I
(A9)
y But
my heart's right there!
 

       
G
A
G
 
  
Doo do - do do - do do - do doo doo doo doo
D

G


A


Hmm, hm - hm - hm - hm - hm - hm Hmm - mm - mmm.
D7)


gain.
G

A7
to Tip - per - ar - y,
(F©dim7)
We shall

-
 
main
 
      
It's a long way


A


It's a long, long way to Tip - per - ar
D7
E

      
doo

you come
G

(Am7


G
  
  
but with all
E
 
C
(B7)
  

miss

Fare - well Leices - ter Square,

B7
When
C
doo - doo - doo - doo

   
D


to Tip - per - ar - y,

A

 
  














 

Oh,we don't want to lose you but wethink you ought to go
For your King and your coun - try
 
      
  
E
you,
TUNE
C
 

Bm7

  
     
  
47

G
It's a long way
 
40


 
 
We shall want
Bm

G
 
so.
A©dim7
you,


you

cheer



A
E
TUNE
A
A
 
 
     

 
17
22
E7
B7
Arranged by Barry Gibson,
from tunes by Paul Rubens,
Jack Judge/Harry Williams
and Felix Powell
Bm7
E
WW1 Medley 1 (Recruitment)




Hmm - hmm - hmm - hmm D

doo, - doo,

G

doo.
[email protected]
WWI Medley 1 (Recruitment)
35
LY RI CS AND MUSIC
Stuck, stuck in the middle
A lilting waltz
 
 
A
 



A


1.Stuck,
3.Stuck,
5.Stuck,


Bm

E

A

Bm

E7

stuck
stuck
stuck

in
in
in

the
the
the
E7

Hard
as
Back - wards
Hel - met

I
and
and

A
A7
  

mid - dle,
mid - dle,
mid - dle,
A

try
to
for - wards
sho - vel

F©7


ad - mire
shove
we
ba
and
-



D

Bm


the
view,
and
push,
yo - net,
E


Stuck,
Stuck,
Stuck,
[email protected]
36
F©m
E


(2nd time whistle, 4th time sing to "la")
9
17
F©m
Words and music: Barry Gibson

stuck
stuck
stuck

in
in
here


All
Wait
Must
-
I
ing
n't

do
for
grum

-
is
the
ble,
A/C©

the
the
in
rit.
B7
A


mud,
mire,
France,
E
E7


think
whizz,
Must

-
of
bang
n't




you,
whoosh,
fret,
01844 260496
Stuck, stuck in the middle
LYRI CS AND MUSIC
a tempo
2


25
(2nd time hum, 4th time sing to "doo")
A


Stuck,
Stuck,
Stuck,
E7

stuck
stuck
stuck


in
in
in
the
the
the
A
A7
  

mid - dle,
mid - dle,
mid - dle,
D


Just
What
Feel



can't
a
the
C©7

sleep,
game,
beat,

Not
such
Lift
a
a
those


peep,
shame,
feet,
Stuck, stuck in the
middle
1-4
 D
 
33

All
Home


41
there
is
5 (last time)
D


Waltz
our
E¨dim7

A/E


is
for
trench - es
E¨dim7

way

lul
bags
a
and
F©7

-
la
of
by
sand
A/E


off

to
King
is
and

-

A

bang
barbed


come...
dom

whizz,
old,
F©7

E




-
B7

The
E7




thud.
wire.
B7
E



whizz
-

bang
A

dance.
CODA (instrumental)


50
Stuck, stuck in the middle
accel.

D

A/E
E¨dim7





F©7


[email protected]
B7


01844 260496
E


A




37
LY RI CS AND MUSIC
Stuck, stuck in the middle
Stuck, stuck in the middle
Stuck, stuck in the mud
Hard as I try
To admire the view
All I do
Is think of you
Stuck, stuck in the middle
Just can’t sleep
Not a peep
All there is for a lullaby Is whizz, bang, thud.
Stuck, stuck in the middle
Stuck, stuck in the mire
Backwards and forwards
We shove and push
Waiting for
The whizz, bang, whoosh
Stuck, stuck in the middle
What a game
Such a shame –
Home is trenches and bags of sand
And old, barbed wire.
Stuck, stuck in the middle
Stuck, stuck here in France
Helmet and shovel
And bayonet –
Mustn’t grumble
Mustn’t fret
Stuck, stuck in the middle
Feel the beat
Lift those feet
Waltz our way off to Kingdom come...
The whizz-bang dance.
38
Stuck, stuck in the middle
LYRI CS AND MUSIC
Arranged by Barry Gibson,
from tunes by Robert Patrick Weston,
Charles Crozat Converse
and traditional.
WW1 Medley 2 (In the Trenches)
In a whisper

 
D


10
A


A
Hush!

A7


me,
Steadily
A7
Tune
C
Here comes a whizz - bang,
D



When
this



When
I
get
my
D
A7

lous - y

  


              
Em
Am7
you,

war
is
o

civ - vy

D

Oh,
G


A7

No Man's Land If a whizz - bang



No
D
on,
Em
D
ver


clothes

-
G

B7
And you'll see all the won - ders of

Bm

     
Now you sol - diers, get down those stairs, Down in your dug - outs and
G

D
more


how
D
hits you.

D

hap - py
A7

I
shall
Bm

for




 
sol - dier - ing
A7


D
be!
G
D


 
                        






We're here be - cause we're here be - cause we're here be - cause we're here,
We're here be - cause we're here be - cause we're here be - cause we're here,
We're
D
here
D
          

A7
 
   
B7
Tune
B

     
41

               
say your pray'rs. Hush! Here comes a whizz - bang, And it's mak - ing straight for

  
32
Em
 
A7


 
   

Here comes a whizz - bang,
D


25

Hush!
Sentimentally
19
Tune
A D
A7
    
be - cause we're here
WWI Medley 2 (In the Trenches)
D
   
be - cause we're here
G

be - cause we're here,
 
D
   
We're here
[email protected]
A7
    
be - cause we're here
be - cause we're
Bm
G
A7
D
    
here be - cause we're here.

39
LY RI CS AND MUSIC
WW1 Medley 3 (Christmas truce)
Steadily

 
D


bar
of
Gently
 
 
E7


20
Round
Nur

 
28
E7
Sleep
Schlaf
40
D


Sun
(coal
-

A


Si
Stil

yon
das

in
in
-

Vir
trau

-
-
-

Soap
soap)

 
lent
le

 
came


night,
Nacht,
hea - ven - ly
himm - lisch - er


socks


 
- ther and
- li - ge
A
pe
Ruh!
-

down
-

at
night,
-
ly
li - ge

Sle Schlaf
[email protected]
seat - ed

-
ly
der

 
ep
in
in
E
A
 
round

the
to

is
les
-


A
 


scrub.

A


all
ein
calm,
schlaft,

 
In - fant so
Kna - be im
A7

tub,


gan


D

D
Ho
Hol

-
All
Al

All
E7
night,
Nacht,

Child,
Paar.

be





A7
they

 

ace,


and



Bm
Em

ho
Hei
A
gin
Mo
te hoch - hei
 


F©7

light
tar
A7


shep - herds washed their
Em

Tune
B
D

Tune
A
While
G
11
A7


  
7

Bm
Arranged by Barry Gibson,
from tunes by Nahum Tate
and Franz Gruber

 
hea - ven - ly
himm - lisch - er
A


-

 
is
sam
ten - der and
lock - i - gen
bright.
wacht



mild
Haar,
A
peace.
Ruh!




WWI Medley 3 (Christmas truce)
LYRI CS AND MUSIC
Can you, can you remember?
Softly and thoughtfully
C


C
C
 


Can
Can
Can
Can
15
can
can
can
can


 


And
re
re
re
re
  
to
to
to
and
Chorus
you
you
you
you
-

mem
mem
mem
mem

sky - larks sing pain and
fe help re - co share each me -
C7
   
ask
F

  
you,
you,
you,
you,
Think
back
Think
back
Think - ing,
Think
back
24
Gm7

  
7
Words and music: Barry Gibson
-
C/E



ber
ber
ber
ber

ing,
ar,
ver,
mory,
Dm7


Gm7

E¨


a
a
a
a

C
a time
a time
a time
the ge -
E¨




the ques - tions - who, what, how and

why,
the
cut
to
a-
 

of
wheat of
an of
friend ner - a -
and
bells
short
help
cross
were
each
each
the
F



   
To
when
Young
lives,
Think - ing,
Reach
hands
Gm7
   

   
time,
time,
time,
cross
-


fields?
ger?
ship?
tions?

ring ye o cen -
C/E
   
where and when so


ing
ar
ther
tury
Dm7
C
   
ma - ny
had
to
CODA
(Last time only)
32
Gm7
 
die?





rit.
C

Can

you,


can
[email protected] 01844 260496
Can you, can you remember?

you


re - mem
-

ber?



41
LY RI CS AND MUSIC
Can you, can you remember?
Can you, can you remember
A time, a time of wheatfields?
Think back, to skylarks singing,
To when the bells were ringing...
And ask the questions –­who, what, how, and why,
And where, and when so many had to die?
Can you, can you remember
A time, a time of anger?
Think back, to pain and fear
Young lives cut short each year...
And ask the questions –­who, what, how, and why,
And where, and when so many had to die?
Can you, can you remember
A time, a time of friendship?
Thinking, to help recover...
Thinking, to help each other...
And ask the questions –­who, what, how, and why,
And where, and when so many had to die?
Can you, can you remember
Across the generations?
Think back, and share each memory
Reach hands across a century...
And ask the questions –­who, what, how, and why,
And where, and when so many had to die?
Can you, can you remember?…
42
Can you, can you remember?
LYRI CS AND MUSIC
Arranged by Barry Gibson,
from tunes by Anon (traditional),
George Michael Cohan
and Henry Rowley Bishop
WW1 Medley 4 (End in sight?)
Steadily

 
D


10
D
19

28
A7

D
A7

C7

A7
Tune
B

 

 
G7
46
 
 
Home!
D
G
-


D
C


F
C
 






Hm - m

hm - m - m - m - hm -
F
C
  


G7

Ho
-

me!
say
a


 

o
-
 
ver,
And
G7

   


  
C


mm, Hm - mm - mm - m - m - mm.
C
G7
C



Home,


m, Hm - mm - m - m - m - mm.
G7
sweet
home!

There's

back
 






C
F
-
  


place like
  

place like
ho
C

ho
-
-





We'll be
F


o - ver


C

   
G7

no
G7

no
-
-

  
 

place like
Hm -
C
place like

  

there.
m, Hm - mm - m - m - m - mm.
me, there's
me, there's

G7
 
 
 
 
be - ware
o - ver

C
to

hm - m - m - m - hm -
F
-


F
no

no
D
G7
C
it's


 
till
Hm - m
There's

A7
C
send the word

come
[email protected]
WWI Medley 4 (End in sight?)
word,

won't
C
G
F
Fdim7

we
C7



Send the


Bm
That theYanks are com - ing, theYanks are com - ing, Thedrums rum - tum - ming ev' ry
F

G
            
    


prayer,
C
ver, we're com - ing
Tune
C

Bm
A7
Gm


 
   

A7

    
         
We're here be - cause we're here be - cause we're here be - cause we're

    
          
We're here be - cause we're here be - cause we're here be - cause we're here.
Send the word, send the word o - ver there
pre - pare,


 
 
O - ver there,
F

mm - m - m - m - mm -
54
 
 
So
33
o
F

where
D

          




We're here be - cause we're here be - cause we're here be - cause we're here,
O - ver there,
C
Softly
37
G
We're here be - cause we're here be - cause we're here be - cause we're here,
Dm
 
D
    
       





F

Bm
D
here,
Lively
Tune
A


home.


home.
43
GR APHI C SCORE
Countryside, town and changing weather
Graphic score 1
WHEAT
(eg maracas,
cabaças, shakers)
BIRDSONG
(eg whistles,
recorders)
BELLS
(eg glockenspiel,
chime-bars,
metallophone)
STREAM/RIVER
(eg xylophone,
marimba scales)
TOWN/FACTORY
(eg ukulele,
guitar riffs)
HOME-LIFE
(eg woodblocks,
claves ‘ticks’)
THUNDER
(eg low
drum-rumbles)
TIME →
44
10˝
20˝
30˝
40˝
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1´00˝
Countryside, town and changing weather
G RAPHIC SCORE
Waiting
Graphic score 2
FEET
THUNDER
BUGLE
HORSES
DISTANT
GUNS
MUD
POCKETWATCH
TIME →
Waiting
10˝
20˝
30˝
40˝
50˝
1´00˝
45
GR APHI C SCORE
Over the top!
Graphic score 3 (Use this grid to notate what sounds happen when)
WHISTLES
VOICES
BUGLE
CALLS
RIFLES/
GUNS
TANKS
HORSES
CHAOS
TIME →
46
10˝
20˝
30˝
40˝
50˝
1´00˝
Over the top!
H OW TO ACQUIRE T H E PR OGR AM M ES
The 10 programmes in this series are available to download from the BBC’s podcast
directory at:
www.bbc.co.uk/podcasts/series/ww1pack
Check the contents table of these Notes to see when each one will become available.
You can also download the programmes from the iTunes
store. Simply open iTunes and type ‘WW1pack’ into the
search field. You may find this method more convenient if
you are intending to store the resources on an iPod.
Once you have downloaded all the resources you may keep
them in perpetuity and share them with your class as you
wish.
The downloads are in mp3 file format. They can be played
from a computer (most computers should play the files automatically without the need
for additional software). They may also be transferred to an mp3 player (such as an iPod).
In either case it is anticipated that you will wish to connect your device to a sound system
before using the resources.
There are three programmes to support drama, three to support music and three to support
dance. The tenth programme of the series is composed entirely of resources to support your
staging of the play Archie Dobson’s War.
These resources include the backing tracks of the songs (for pupils to sing to once they have
rehearsed the songs using the programmes) and sequences of sound effects (e.g. battlefields)
and incidental music designed to enhance your staging.
These programmes are available to download. Once you have acquired the content you are
free to share it with class or group as you would any other resource from School Radio and
to keep it for as long as you wish. The content may be transferred to an
mp3 player.
Please note: these programmes are not available to order on
pre-recorded CDs.
47
How to aquire the programmes